Clark Ashton Smith - Poems by the Famous Poet - All Poetry

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Clark Ashton Smith

1893-1961

Clark Ashton Smith (January 13, 1893-August 14, 1961) was a poet, sculptor, painter and author of fantasy, horror and science fiction short stories. It is for these stories, and his literary friendship with H. P. Lovecraft from 1922 until Lovecraft's death in 1937, that he is mainly remembered today. With Lovecraft and Robert E. Howard, also a friend and correspondent, Smith remains one of the most famous contributors to the pulp magazine Weird Tales.

Smith spent most of his life in the small town of Auburn, California, living in a small cabin with his parents, Fanny and Timeus Smith. His formal education was limited: he attended only eight years of grammar school and never went to high school. However, he continued to teach himself after he left school, learning French and Spanish, and his near-photographic memory allowed him to retain prodigious amounts from his very wide reading, including several entire dictionaries and encyclopedias.

Smith began writing stories at the age of eleven and two of them, The Sword of Zagan and The Black Diamonds, have recently been published by Hippocampus Press. Both stories use a medieval, Arabian Nights-like setting, and the Arabian Nights, like the fairy tales of the Brothers Grimm and the works of Edgar Allan Poe, are known to have strongly influenced Smith's early writing.

In his later youth Smith became the protégé of the San Francisco poet George Sterling, who helped him to publish his first volume of poems, The Star-Treader and Other Poems, at the age of nineteen. The Star-Treader was received very favorably by American critics, one of whom named Smith "the Keats of the Pacific." Smith made the acquaintance of Sterling through a member of the local Auburn Monday Night Club, where he read several of his poems with considerable success. The publication of Ebony and Crystal in 1922 was followed by a fan letter from H. P. Lovecraft, which was the beginning of fifteen years of friendship and correspondence.

Smith was poor for most of his life and was often forced to take menial jobs such as fruitpicking and woodcutting in order to support himself and his parents. Following the death of his parents, he married Carol Jones Dorman on 10 November 1954 and moved to Pacific Grove, California, where he set up a household with their children.

Smith suffered from eye problems throughout his life. He died in his sleep on August 14th 1961.




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Indian Summer

Surely these muted days are one with days remembered,
This necromantic sun is an evocation
Of suns whereunder we have walked before:
For when I see the peach-trees
Flame-colored and far off
Where the blueness of the air has crept among them,
The love I feel today
Somehow resumes the bygone flames and shadows,
The vanished incommunicable moods
And fugitive lost colors
Of the love I felt for you in autumns past.
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Analysis (ai): This poem explores the themes of nostalgia and the cyclical nature of life and love. Through vivid imagery, the speaker draws parallels between the present and past, evoking a sense of longing and bittersweet remembrance. The poem's structure, with its short lines and repetitive phrases, creates a meditative rhythm that enhances its emotional impact.

Compared to the author's other works, this poem exhibits a similar preoccupation with the passage of time and the fragility of human experiences. However, it differs in its focus on love as a recurring theme, as opposed to the cosmic and fantastical elements that often permeate his writing.

In the context of its time period, the poem reflects the modernist preoccupation with memory and subjectivity. It captures the sense of fragmentation and loss that characterized the early 20th century, while also expressing a longing for a sense of connection and continuity.
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The Dragon-Fly

By the clear green river,
One afternoon in early autumn,
A dragon-fly with crimson wings alit
On the white thigh of my belovèd;
And, ever since it flew,
More fully have I known the loveliness
And the transiency of days;
And love and beauty burn within me
Like the piled leaves of blood and amber
That burn at autumn's ending.

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Analysis (ai): This poem depicts a fleeting encounter between a dragon-fly and the poet's beloved, who is situated by a clear green river. The dragonfly's crimson wings are symbolic of the color of love, and its alighting on the beloved's thigh suggests a brief moment of intimacy. The poet's observation of this encounter leads to a realization about the ephemeral nature of beauty and love, as well as a heightened awareness of their importance in life.

The poem is characterized by its simplicity and brevity, with each line succinctly capturing a specific aspect of the encounter or its significance. The language is clear and evocative, painting a vivid picture of the scene without relying on excessive ornamentation. The poem's brevity also contributes to its impact, as it leaves a lasting impression without overwhelming the reader with excessive detail.

In comparison to the author's other works, this poem is relatively simple and straightforward, lacking the complex symbolism and cosmic imagery that is often found in Smith's poetry. However, it shares with his other works a preoccupation with themes of transience and beauty, as well as a keen observation of the natural world. The poem also reflects the time period in which it was written, with its use of traditional poetic forms and its emphasis on the ephemeral nature of beauty and love.
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Exotique

Thy mouth is like a crimson orchid-flower
Whence perfume and whence poison rise unseen
To moons aswim in iris or in green,
Or mix with morning in an eastern bower.

Thou shouldst have known, in amarathine isles,
The sunsets hued like fire of frankincense,
And noontides fraught with far-borne redolence,
The mingled spicery of purple miles.

Thy breasts, where blood and molten marble flow,
Thy warm white limbs, thy loins of tropic snow—
These, these, by which desire is grown divine,

Were made for dreams in mystic palaces,
For love and sleep and slow voluptuousness,
And summer seas afoam like foaming wine.
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Analysis (ai): This poem explores themes of exoticism and sensual desire. The speaker describes their beloved's physical attributes in language that evokes a distant, tropical setting. This poem is representative of Smith's other works in its use of vivid imagery and exotic themes. It also reflects the time period in which it was written, as it reflects the fascination with the "Orient" that was prevalent in the late 19th and early 20th centuries.

The poem's language and imagery are lush and sensual, with the speaker comparing the beloved's mouth to a "crimson orchid-flower" and her breasts to "molten marble." This language creates a sense of exoticism and otherness, as the speaker describes the beloved in terms that are unfamiliar and alluring.

The poem also reflects the time period in which it was written. The fascination with the "Orient" was a common theme in literature and art in the late 19th and early 20th centuries, and Smith's poem is no exception. The speaker's descriptions of the beloved's "amarathine isles" and "purple miles" evoke a sense of a distant, exotic land that is both alluring and dangerous.
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